FIG. 4 shows a typical wave field synthesis scenario. At the heart of the wave field synthesis system is the wave field synthesis renderer 400 which generates a specific speaker signal for each of the individual speakers 401 grouped around a reproduction environment. Specifically, between the wave field synthesis renderer 400 and each speaker, there is thus a speaker channel on which the speaker signal for said respective speaker is transmitted from the wave field synthesis renderer 400. On the input side, the wave field synthesis renderer 400 is supplied with control data typically arranged within a control file 402. The control file may include a list of audio objects, each audio object having a virtual position and an audio signal associated with it. The virtual position is the position that a listener who is in the reproduction environment will localize.
If, e.g., a movie screen is located in the reproduction environment, what is generated for the viewer is not only an optical spatial scenario, but also a tonal spatial scenario. For this purpose, all speaker channels are supplied with speaker signals which are derived from the same audio signal for a source, such as an actor or, e.g., an approaching train. However, all of these speaker signals differ to a greater or lesser extent in terms of their scaling and their delay of the input signal. The scaling and the delay for the individual speaker signals are generated by the wave field synthesis algorithm which operates in accordance with the Hugyen principle. As is known, the principle is based on that any wave form may be generated by means of a large number of spherical waves. In that the individual speakers which provide the individual “spherical waves” are controlled with the same signal, but such that it has a different scaling and a different delay applied to it, one will get the impression, if one is in the reproduction environment, of a single sound source which is now located at the virtual position.
If there are several audio sources simultaneously occurring at any one time, but at different virtual positions, the wave field synthesis renderer will perform the above-described procedure for each single audio object, and will then perform a summation of the individual component signals before the speaker signals are transmitted to the individual speakers via the speaker channels. When contemplating speaker 403, for example, which is located at a specific speaker position which is known, the wave field synthesis renderer will generate, for each audio object, a component signal which is to be reproduced by the speaker 403. Subsequently, once all component signals for one point in time have been calculated for the speaker 403, the individual component signals are simply added up to obtain the common, or combined, component signal for the speaker channel extending from the wave field synthesis renderer 400 to the speaker 403. However, if only one source is active for the speaker 403 at any one time, the summation may naturally be dispensed with.
Typically, the wave field synthesis renderer 400 has practical limitations. Given the fact that the entire wave field synthesis concept necessitates a relatively large amount of computing time anyhow, the wave field synthesis renderer 400 will only be able to process a specific number of individual sources simultaneously. A typical maximum number of sources to be processed simultaneously is 32 sources. This number of 32 sources is sufficient for typical scenes, for example dialogs. However, this number is far too small if there are certain events occurring, such as a sound of rain, which is composed of a very large number of individual different sound events. An individual sound event namely is the sound generated by a raindrop when it falls onto a specific surface.
It may be readily seen that 32 raindrops will not create a realistic sound of rain if the 32 raindrops were modeled as individual audio sources in a localized manner.
With such random processes which include many sources of sound which cannot be processed individually, an overall sound of rain has therefore been created and, for example, evenly mixed into all speaker channels. However, this results in that the listening experience is reduced by the fact that, unlike the background of other sounds, which may be perceived in a spatially localized manner, this is not the case with the sound of rain.
In the AES Convention Paper “Generation of highly immersive atmospheres for Wave Field Synthesis reproduction”, A. Wagner, et al., 116th Convention, 8-11 May, Berlin, Germany, and in a similar dissertation submitted for a diploma entitled “Entwicklung eines Systems zur Erstellung immersiver akustischer Atmosphären für die Wiedergabe mittels Klangfeldsynthese”, by A. Walther and A. Wagner, 16 Nov. 2004, immersive atmospheres are generated using sounds which are recorded with special microphone assemblies.
The specialist publication “Computational Real-Time Sound Synthesis of Rain”, S. J. Miklavcic et.al., Proceedings of the Seventh International Conference on Digital Audio Effects (DAFx '04), Naples, Italy, 5 to 8 Oct. 2004, refers to the real-time sound synthesis for computer games with the use of a physical model of the impingement of raindrops on solid surfaces or on water. For a multi-speaker sound reproduction of a system comprising five speakers, two of which are positioned behind the listener, two of which are positioned in front of the listener, and of which one speaker is positioned in the center in front of the listener, a zone of impingement of a raindrop, which is symmetrically positioned around the listener, is divided up into sectors of a circle which are defined in accordance with the speakers. Using a random distribution function, a drop impingement is simulated in that the sector of the impingement is determined. Subsequently, the sound pressure of the impingement is divided up among the two neighboring speakers, and on this basis, a sound signal is generated for these two speakers.
What is disadvantageous about this concept is that, even with this concept, it is not possible to create any particle positions, but it is only possible to use directions with regard to a listener by means of stereo panning between two speakers which are adjacent to the impingement position of the drop. Again, no ideal sound of rain is created for the listener.